Kevin Downer
Forum Replies Created
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Not trying to butt in but just to help and clarify a couple things mentioned:
Cathy, sequences can be dragged into the source monitor from the bins and edited as normal clips. Normally, they would be by default nested if Insert or Overwrite are used to put them into another sequence. If you hold down the Command key while using the Insert or Overwrite functions, it will edit the content. So it can be done. Not having a source/record timeline switch function in FCP like AVID is a bummer and should be fixed though. For now, you could open the sequence, make your marks and drag it to the source window for precise edits.
You can have a viewing client monitor output run at the same time with your FCP source/record window playback. Use either the old AVID “McFly” method for dual monitor/dual vid card setups, have one monitor act as the client monitor in FCP settings or by using a Blackmagic or AJA hardware device similar to the AVID Mojo or other AVID hardware which acts as a second or third monitor output (best solution by far). Not sure why your setup does not allow it. Talk to your tech support or savvy friends to help you set it up properly. It sounds like a FCP settings issue or a need for 3rd party hardware to get what you want.
For long form projects make sure you are running enough RAM. 2 Gigs is a good amount at minimum. There should not be major slowdowns unless you have many, many sequence timelines and projects open at the same time in FCP. Thumbnails in bins layouts and visual waveforms in open sequences can slow things down too as they have to cache the redraw. Turn them off if possible or option click the bins to keep then open in the FCP project window for thumbnail issues so they don’t have to redraw all the time. Running decent sized dual monitors can help keep most of your bin material on the screen.
I do hope Apple does consider the AVID Project folder with Bin sub-folder data layout on the OS desktop level in future updates. It would help speed things up for transferring project material etc. changed data, etc. as they can get quite big and unwieldy at times.
As for FCP being too key-centric with double or triple function key commands. You can change this. Just customize your keyboard to include the functions you need in one button push like you would with an AVID. If you have a numeric keypad, you can use the whole row of top number keys as customs, or add the functions to your FCP windows like AVID and color code them for category.
Make the layout as basic or as complicated as you need it to be to suit your needs. It just seems overwhelming now with too many options because FCP is different with a wide array of keyboard functions in different places from what you are used to in AVID. The frustration will pass as you get more familiar with FCP and cater it to your needs.
Hopefully this helps and clears up some misunderstandings stated and assists in setting up your future FCP project workflow.
Best thing to do as you get more experience on the FCP platform is to learn the ways to use FCP most efficiently and try not to make it do things the AVID way all the time. You will discover things you wished you had in AVID. 🙂
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I’ve never understood this “us vs. them” mentality. We’re not cults, we’re all editors. Most of us in order to survive are fluent with FCP and AVID these days (being the most entrenched platforms in post). I have edited in both platforms extensively and both have their benefits and faults. I wonder if the Moviola and Steenbeck users had this rivalry…Any ways on with the question.
It may be a loaded question but worth facing. No doubt clients will be asking similar things.
I was pretty impressed with Apple’s offerings with FCP Studio 2. They made some very good acquisitions to the bundle and Motion in 3D was much hungered for.
Color is the only real thing that made me sit up and take notice. It is an amazing program that compares to the Symphony Nitris color tools. It may not be real-time but the features are a real eye opener. No doubt lower end AVID users will be screaming for Symphony Color correction tools which the company cannot provide without alienating their higher-platform users who shelled out big bucks for these features. That is a big issue that needs to be addressed.
Past the glamour though, the actual FCP editing program seems to have had very little done with it for actual day to day editing requirements. After 2 years this is a shame. For AVID users this is undoubtedly a blessing in disguise. For all the wow-features Apple introduces, AVID relies on it’s less media-splashy features that has made it such a solid editing platform for a reason. Apple does keep chipping away though so AVID needs to start getting innovative again to make it stand out. The ball is very much in their court now.
In reality, a competent editor can work on either system, work around the issues of both platforms and produce great work for any medium, long or short. Weigh the needs, choose the tools and get the job done. FCP Studio 2 isn’t going to turn your computer into a finishing suite magically overnight without some major investments.
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The media should be readable on the Mac system. The problem is OSX will not be able to modify the PC drive data to update the media material or databases. It is read only, non modifiable unless the drives are FAT32 (which you really don’t want) which I doubt on their RAID. This could cause trouble with AVID if you want to add anything to the storage, changing the database files. Change the location in the Avid settings to a Mac formatted drive for anything new that will be captured, rendered, imported, etc.
If this is to be a common trait of your workflow, I highly recommend the PC user uses Macdrive and format the drive for OSX. This is also in the G-Tech FAQ as their solution. You can then both share and modify the data without problems next time. I don’t think it is officially supported by AVID but I have done it on previous projects for editing and exporting to sound mix, graphics, etc.
Other than a fast fiber channel network setup it seems to be the only real solution for cross-platform projects on single base user systems.
There is a trial version of 7 you can test.
Other than that get ready to spend time copying over the data to your raid drives to work on. That works fine but takes time and storage costs.
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Well in a forum like this there is a need for AVID users answering questions more than asking them. He is certainly an experienced user willing to lend help frequently here. He is committing more time here than lurkers like myself care to.
I see Grinner’s as a reality check sometimes: An editor in the trenches who is not always going to sugarcoat his response about his perspective on the product.
He is never insulting to the asker of a question (which occurs on other forums frequently). He just feels the AVID editing system for the single-user base has not advanced much for the higher-end purchasers.
After viewing AVID’s offerings at this NAB, I have to agree. What happened!? As a Symph Nitris user, I await the sting of Apple Color come May with dread.
If you don’t agree, debate it I guess or ignore the occasional grumpiness. There are always salient points tucked away in any forum discussion between experienced users which everyone can benefit from.
Most of us have one eye on the offerings from other companies because it affects our livelihood or investment. Grinner just has two at times.
He is my litmus test of AVID’s progress and innovation. I hope he is happy again one day for all our sakes. 🙂
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I really appreciate your tutorial on camera shake. I’ve been using motion sketch but your method seems much more controlled. I just have to figure out how to expression link it to music levels without resorting to buying Trapcode so I can use it freelance.
Your Circle Segment tutorial video seems to link to the Pie-chart video. Just an FYI if your wondering why no one has downloaded it.
Thanks!
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I really appreciate your tutorial on camera shake. I’ve been using motion sketch but your method seems much more controlled. I just have to figure out how to expression link it to music levels without resorting to buying Trapcode so I can use it freelance.
Your Circle Segment tutorial video seems to link to the Pie-chart video. Just an FYI if your wondering why no one has downloaded it.
Thanks!
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Actually Blub, that process still happens quite allot for film test screenings for trial edits, so don’t feel too outdated.
Allot of the big studios execs still like to see it on the full screen to judge the edit’s impact. They are accustomed to it and don;t feel the need to alter their wants. The money and time spent is a moot point.
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For future reference, there are a few pointers that might help.
As you found out, it is best to batch import the online material after you have finished editing with the offline material and do not need it anymore. It helps reduce the clutter. In newer verions of AVID, I think it is standard across the board to be able to relink to a select online resolution though which may help keep it all separated.
I think you may have had offline bad media still online because you either imported them into a separate bin, or possibly in multiple projects project. I find it is always a good idea to try to create a separate project just for graphics, and another for music etc. This helps you keep things organised later on when you are trying to delete material int the Media Tool. You can always use Media Tool and Select Media Relatives to fins out what material your sequence uses and and be selective in your media control.
You don’t have to copy paste ad nauseum in AVID for tape ID. You can create a tape for one item (whether it be graphics, music, etc.). Then highlight all the clips you want to change and use the Modify Clip command and set source, then seelcting your proper TAPE ID. This would have saved you the 142 keystrokes. The inability to use puncuation is so it won’t screw up EDL’s and it best to avoid lengthy or punctuated TAPE ID’s anyway.
For graphics, three things to remember if you are doing rough offlines and then online finals is it helps to keep the exact names of each set intact and the same (even if they originate from different folders on your computer, import them with the same duration and give them a pseudo Tape ID like “GRFX001”. If you do this, you can then organise the offline graphics, delete the rough stuff (media only) and then use the [i]Relink Command[/i] which will look for the same tape, duration. etc. and relink your previous offline material clips to the proper online grfx media all in one go.
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Walter, not to pick but just to clarify your previous statement one of your selected manufacturers:
“Maxtor is not a drive I recommend to anyone who is doing serious video work, that is, you’re earning your livlihood from your work. LaCie, G-Tech and WiebeTech are all good firewire drives for A/V work.”
Lacie is just providing a metal housing for the drive. It’s not a drive manufacturer.
Lacie in many cases uses Maxtor drives in their cases. I just had my older FW Lacie die on me recently. After opening it, it uses a Maxtor DiamondMax Plus 9. Take one apart sometime. The only shock absorbing thing in the case is a little crappy foam strip. That nice vent hole in the back? There is no fan in it so it’s useless and purely cosmetic…like the rest of it. Probably why it runs so quietly though. 😉
You might think about going SATA external or internal as it seems to becoming the next best thing to SCSI for its price point and will help with the hiccups.
If you need to stay FW, I would suggest grabbing a Mercury Elite Pro enclosure and then get the drive of your choice to stick in it.
I learned my lesson from my recent HD crash.
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I second the idea of Super 8mm techniques. For all the improvements of a DV camera, the Super 8mm camera still has allot to offer for the budding music video maker.
The Super 8mm medium is really nice for the more grungy look that one might find in a KMFDM or Front Line Assembly video (am I dating myself here?).
While the transfer rates to video might seem a bit worrying for a low-budget video, you can try your hand at your own film to transfer device. It can be a interesting style to pursue. A very interesting article can be found here in downloadable PDF form.
https://www.computerarts.co.uk/tutorials/2d__and__photoshop/super_8_to_video
Don’t think that you are hampered to the grainy abyss though. One can get very good qualilty film and cameras from a specialty house like Pro8mm which produces 35mm Kodak Vision cartridges especially for Super 8mm. It really is quite amazing to have such potential like Max-8, allowing for Widescreen formats:
For the price of a high-end DV Camera, you might be able to grab a good quality Beaulieu from a reseller and package it with a Workprinter. It could give you that artistic edge you may be looking for.
It even might be cheaper to take a night course or something in a nearby film school that gives you access to their equipment rooms and student film shoot supplies. Either that or befriend someone who is involved in such a program for a credit in the film. 🙂